Marina Tyquiengco is a scholar of contemporary indigenous art and PhD student at the University of Pittsburgh working with Professor Terry Smith. She received her BA from the University of Virginia in 2011 with a double major in Art History and Foreign Affairs. While at UVA, she interned at the Fralin Museum of Art in its education department and was the Institute of Public History Curatorial Intern at the Kluge-Ruhe Aboriginal Art Collection. After UVA, she worked at Art Whino Gallery, a for-profit gallery space, and the Workhouse Arts Center, a nonprofit art center with gallery and art education spaces. She received her MA in Art History in 2016 from the University of Pittsburgh. Her MA topic was contemporary reuse of ethnographic photographs by Aboriginal Australian artists. Her dissertation will focus on indigenous artists’ use of their bodies from the 1990s to today in Australia, Canada and the US. She is currently serving as the Editor in Chief for Contemporaneity: Historical Presence in Visual Culture. She has written exhibition reviews for Contemporaneity and First American Art Magazine. She was the inaugural intern for the 57th Carnegie International where she designed a digital humanities project based on archival research of curators’ travel patterns. She has presented her research at the Australian and New Zealand Studies of North America (ANZSANA) Conference and the Southeastern College Art Conference (SECAC). She served as a Teaching Assistant for Introduction to Contemporary Art, Introduction to Modern Art, and the Museum Studies seminar at the University of Pittsburgh. She is also active in the History of Art and Architecture Graduate Student Organization, serving as the inaugural graduate representative for the Diversity Committee in 2016 and as the representative for the Undergraduate Committee and the University Art Gallery.
PhD Student, University of Pittsburgh, Fall 2014-Present
Master of Arts, History of Art and Architecture, University of Pittsburgh, 2016.
BA, University of Virginia, 2011
Review of “Defying Empire National Indigenous Art Triennial,” Contemporaneity: 2018 Issue 6, p 113-119.
Co-Authored with Annika Johnson, “Contemporary Native Photographers and the Edward Curtis Legacy,” First American Art Magazine, Summer 2016, p 74-76.
"Decoding Double Desire: An Interview with Ian McLean," in Contemporaneity: Historical Presence in Visual Culture: 2015 Vol. 4 Issue 1, p 208.
Center for Curatorial Leadership/Mellon Seminar, 2018
Summer Institute for Technical Art History at Harvard Art Museums through the Mellon Foundation, 2018
Cultural Studies Summer Research Grant, 2018
Dietrich School of Arts and Sciences Graduate Student Association Summer Research Grant, 2018
Dean’s Summer Research Grant, 2017
Race-Ing the Museum, Andrew W. Mellon Foundation Consortium Workshop, 2016
Diversity Summer Research Award, 2015, 2016
Friends of the Frick Summer Research Award, 2015
K. Leroy Irvis Fellowship, Fall 2014-Spring 2015